Displaying items by tag: Tyler Anthony Smith

Hell in a Handbag Productions is pleased to continue its 22^nd season with the world premiere of POOR PEOPLE! The Parody Musical, an insane homage to many of the characters, songs and tropes of those very expensive Broadway and West End musicals about the less fortunate (Annie, Oliver!, Les Miz, Sweeney Todd... you get the gist). Written by ensemble member Tyler Anthony Smith* with direction by Stephanie Shaw, music direction by Andrew Milliken and choreography by Christopher Kelley, POOR PEOPLE! will play May 2 – June 16, 2024 at The Chopin Studio Theatre, 1543 W. Division St. in Chicago. Tickets are now on sale at handbagproductions.org or buytickets.at/hellinahandbagproductions/1116848. The press opening is Friday, May 10 at 8 pm.

The cast includes ensemble members David Cerda*, Sydney Genco*, Caitlin Jackson*, Elizabeth Lesinski* and Tyler Anthony Smith* with Matty Bettencourt, Brittney Brown, Taylor Dalton, Dakota Hughes, Patrick O'Keefe, Shane Roberie and Tommy Thurston. Understudies include Connar Brown, Miguel Long, Halli Morgan and Brandon Nelson.

It's 1979 in dangerous, smoky, glorious New York City. Our story's red-headed protagonist Li'l Orphan Arnie (Dakota Hughes) is fleeing from the guardianship of a sex-starved, meth-cooking madwoman (Sydney Genco*). Out on the streets, they befriend a slinky dancing cat (Matty Bettencourt), who leads them to a magical manhole, transporting them back in time to Paris, France in 1815. Trading in one poverty-plagued lifestyle for another, Arnie gives up the desire to find their parents and joins forces with a gang of pick-pocketing prostitutes, led by the mysterious Fagin (David Cerda*).

Life becomes even more dire when Mama Moneybags (Brittney Brown), a corrupt Republican from the future, takes it upon herself to put Fagin's troupe out of work. Thankfully, there's a bounty of colorful, destitute characters to help save the day, such as the tuberculosis-ridden Pantene (Caitlin Jackson*), a feral Beggar Woman (Elizabeth Lesinski*) and Nance, the classic hooker with a heart of gold (Tyler Anthony Smith*). Will the sun come out tomorrow? Do you hear the people sing? Will we be changing all of the lyrics to avoid being sued? Yes!

Comments playwright Tyler Anthony Smith, "When I was in the fourth grade, I was supposed to be in the ensemble of our district's high school production of Oliver! I got sick, missed too many rehearsals, and was forced to exit the show. So not only is this Handbag's response to Apple TV's Schmigadoon!, it's also my revenge."

The production team includes G. "Max" Maxin IV (Scenic, Lighting and Projection Design), Rachel M. Sypniewski (Costume Design), Miranda Coble (Sound Design), Maggie O'Brien (Props Design), Jabberwocky Marionettes (Puppet Design), Keith Ryan* (Wig Design), Syd Genco* (Make-up Design), Michael S. Miller* (Graphic Design), Rick Aguilar (Photography), Jenna Raithel (Stage Manager), Veronica Kostka* (Assistant Stage Manager) and David Cerda* (Executive Producer).

*Denotes Hell in a Handbag Ensemble Member

PRODUCTION DETAILS:

Title: POOR PEOPLE! The Parody Musical – World Premiere!
Playwright: ensemble member Tyler Anthony Smith*
Director: Stephanie Shaw

Music Director: Andrew Milliken

Choreographer: Christopher Kelley

Cast (in alphabetical order): David Cerda* (Fagin), Sydney Genco* (Miss A), Caitlin Jackson* (Pantene), Elizabeth Lesinski* (Beggar Woman) and Tyler Anthony Smith* (Nance) with Matty Bettencourt (Fosse Kitty), Brittney Brown (Mama Moneybags), Taylor Dalton (Epipen), Dakota Hughes (Li'l Orphan Arnie), Patrick O'Keefe (Twinky), Shane Roberie (The Groomer of the Flop'ra) and Tommy Thurston (Pretty Rich Boy). Understudies: Connar Brown, Miguel Long, Halli Morgan and Brandon Nelson.

Location: The Chopin Studio Theatre, 1543 W. Division St., Chicago

Previews: Thursday, May 2 at 8 pm, Friday, May 3 at 8 pm, Saturday, May 4 at 8 pm, Sunday, May 5 at 4 pm and Thursday, May 9 at 8 pm
Opening/Press performance: Friday, May 10 at 8 pm
Regular run: Saturday, May 11 – Sunday, June 16, 2024
Curtain Times: Thursdays, Fridays and Saturdays at 8 pm; Sundays at 4 pm.

Industry Night: Wednesday, June 12 at 8 pm

Tickets: $25 previews, $42 general admission, $60 VIP/reserved seating. Group rates $36 for 10 or more. Tickets are now on sale at handbagproductions.org or buytickets.at/hellinahandbagproductions/1116848.

About the Artists

Tyler Anthony Smith (Playwright)  is in show business. He/She/They is/is/are a proud Hell in a Handbag ensemble member. Lots of performing here and there, lots of writing this and that, lots of saying, "There's a hole in my crotch. Again." Ms. Smith is not represented by any sort of talent agency. Instagram: @judithnightlight

Stephanie Shaw (Director) has presented her original solo performance work for a wide range of venues in the Chicago area, as well as NYC. An alumni member of the Neo-Futurists, she wrote and performed regularly for Too Much Light Makes the Baby Go Blind for five years. She has directed a number of solo shows for Live Bait Theatre, The New York Fringe, Sweetback Productions, and the simple pleasure of Tyler Anthony Smith and his audiences. She directed Tyler's FRANKENSTREISAND for Hell in a Handbag, and has directed for The Neo-Futurists, The New York Fringe, Oak Park Festival Theatre, MirrorBox Theatre (Cedar Rapids), and over a dozen plays and musicals for the theatre department of Columbia College Chicago, where she is a Professor of Instruction. Once upon a time, she was a theatre critic for The Chicago Reader.

Andrew Milliken (Music Director) has been a music director/pianist in the Chicago area since 2016. Previous credits with Hell in a Handbag include Poseidon! An Upside Down Musical, Bewildered and The Facts of Life: Satan's School for Girls, for which he also composed the music with David Cerda.

Christopher Kelley (Choreographer) is a choreographer, dancer and teacher based in Chicago. Favorite performing credits include The Muny, Lyric Opera of Chicago, The Paramount, Marriott, Drury Lane, Porchlight and Timberlake Playhouse. Christopher was a company member of Chicago Repertory Ballet from 2020-2023. They have taught ballet and jazz at several studios around Chicago and are on faculty at Visceral Dance Chicago and CCPA. BFA in Music Theatre from CCM.

About Hell in a Handbag Productions

Hell in a Handbag is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music and homage. Handbag is a 501(c)(3) Not for Profit. For additional information, visit handbagproductions.org.

Nobody does camp like Hell in a Handbag Productions. Ensemble-developed, oddball parodies of queer iconoclasts are what they do best. For their 21^st season, longtime collaborators Tyler Anthony Smith and director Stephanie Shaw meld Barbra Streisand’s enduring legacy with Mary Shelly’s classic horror story. A cast of loveable weirdos round out the world premiere of this clever Halloween special.

Hell in a Handbag ensemble member Tyler Anthony Smith has been creating one-man shows throughout Chicago’s fringe scene for years. He’s also been a regular feature at Hell in a Handbag over the years. Tyler reunites with director Stephanie Shaw for a story that only his irreverent mind could come up with.

‘Frankenstreisand’ is the story of Dr. Barbra Frankenstreisand’s return to the stage after a 27-year performance hiatus. Only this time, she has her eyes set on a prize higher than an Oscar, a Grammy or even a Tony. Loosely based on the very real 1990s rumor that Barbra tried to have her dog cloned, Frankenstreisand intends to clone her beloved, but dead dog, Samantha. With the help of her assistants Hunchback (Dakota Hughes) and Frau (Brian Shaw), Frankenstreisand returns to the stage for the ultimate performance. Both Hughes and Shaw bring a great deal of physical humor to their quirky roles in Smith’s bizarre little script.

This festive Halloween show is a love letter to ‘The Rocky Horror Show’. The 85-minute musical features your favorite Babs songs, each with reconfigured lyrics for context (and likely to avoid copyright infringement). Streisand fans will cackle hearing these hilariously twisted versions of their favorite showtunes. With every number, deranged Frankenstreisand inches closer to giving her cloned pup the spark of life.

Smith knows his Barbra trivia right down to the costumes and together with designer Beth Laske-Miller they’ve recreated some of her signature looks. Wigs by Keith Ryan lend an extra layer of humor to Smith’s cartoon villain version of Barbra.

This play heavily relies on the audience’s knowledge of Streisand lore. Even the biggest fan might find themselves Googling certain facts as they’re leaving the theater, such as does she really have a shopping mall under her house? It’s no secret Barbra Streisand is kooky and perceived as demanding, and this makes her all the riper for satire.

Smith takes his historian-level interest in Barbra and does his own thing. Mixing in some of her signature qualities: the Brooklyn accent, the long fingernails and of course, the schnoz, he also blends in his own Tim Curry-flavored affects that lean into the more overtly sexual. This is a Barbra who doesn’t take herself as seriously.

A musical about Frankenstein and Barbra Streisand may seem like two ideas thrown into a blender with some bong water, but Tyler Anthony Smith has created a hilarious monster with ‘Frankenstreisand.’ It’s both a tribute to the great diva, and an homage to B horror movies of the 1950s.

Through October 31 at Hell in a Handbag Productions. 4702 N Ravenswood. For tickets and or more inforation, click here. 

I was really impressed by the new Shakespearean send-up Out, Darn Spot! starring Tyler Anthony Smith as Lady Marcia Macbeth. Smith is a very talented actor and writer to have pulled off what is essentially a one-man show that never fails to elicit all kinds of emotions, from the deepest, darkest depression to high campy humor throughout. The play is in essence an episode of Macbeth’s late 1960s lifestyle show but done in Handbag style. Also featured within the production are a handful of hilarious throwback commercials that perfectly poke fun of the era.

David Cerda, Hell in a Handbag Artistic Director, makes a delightful appearance as writer Jacquline Susan and is as funny as ever. Caitlin Jackson also puts in some great scenes as kidnapped singer, Leslie Gore. Jackson has such an amazing singing voice, 

I still recall her portrayal of Bette Midler and I was hoping that she would be allowed to sing a portion of one of Leslie Gore's songs like "These Boots Are Made for Walking" or "You Don't Own Me" but perhaps the licensing of those songs was prohibited. 

Stephanie Shaw who directed, shot and edited this video performance did an amazing job capturing Tyler Smith's many moods and looks. Shaw also nails the colorful and psychedelic special effects common to TV and video of that period for all the supporting characters and interior scenes. In one particularly disturbing and haunting section Smith appears to be in a film similar to "The Shining" at the top of a very scary staircase which evolves into a "broken mirror" image of Smith, sans his beautiful period wig, in which he appears to deconstruct his entire character in order to show how deep the layers of depression, pathos and repression of 

sexuality affected housewives back in the 60's.  

This is a particularly timely piece right now as so many of us are trapped at home alone for extended periods of time, like the housewives of the 1960’s. Tyler Anthony Smith conveys with a single piercing  look directly into the camera - just how very lonely and distressing this situation is,  especially when your spouse is not providing you with the sexual or even platonic affection that every human being needs to survive this kind of home lockdown.

Although I sincerely miss the wonderful live shows from Hell in A Handbag, that I've enjoyed for so many years, I am pleased to see this great quality of absurdist, even avant-garde, theater created in a video format for audiences to discover and watch time and time again. The show has so many twists and turns and the monologues are so richly written, I would need to watch it again to absorb it all. 

Although the dark comedy and multilayered Out, Darn Spot! might be a slight break from the pure camp stage comedy that one usually sees from HIAH, it is a successful and important production that could be used as Tyler Anthony Smith's calling card for years to come. 

Out, Darn Spot! will stream through March 21, 2021 (Thursdays, Fridays & Saturday at 8 pm; Sundays at 3 pm) via Vimeo. Tickets ($17) are currently available at handbagproductions.org or directly through Eventbrite.

In 1956 a psychological horror-thriller film hit the big screens across America that undoubtedly shocked audiences nationwide. The film, The Bad Seed, was based on William March’s 1954 novel of the same name and also hit the stage that same year. In a time when UFOs and alien invasions caused country-wide panic, now comes a film where a sociopathic eight-year-old girl, Rhoda, murders when she doesn’t get what she wants when she wants it. Her mother, growingly suspicious of her daughter’s wicked deeds, is caught at a crossroads not knowing what to do since she also loves her more than anything in the world. The film goes on to debate whether criminal behavior is caused by one’s environment or perhaps is inherited. Sometimes a person is just a bad seed, right?

As serious and as creepy as the film is, it is the perfect material for the Hell in A Handbag theatre company to parody. Adding their own twists and turns and injecting their own unique blend of humor, the masters of camp have now given Chicago its newest comedy hit, The Drag Seed, by David Cerda. You may have guessed by the title that a drag theme is added to the story, this time the villain is not eight-year-old Rhoda but eleven-year-old Carson (Kristopher Bottral), a spoiled drag queen whose temper is turned on with a flick of the switch the moment he (in this case, “they/them,” as demanded by the child) doesn’t get what they want. The plot thickens as a trail of mysterious deaths occur throughout and Carson always seems to be found nearby.

It’s just a not-so-everyday life in the affluent suburbs where Miss Charles (David Cerda) is a live-in landlord. Miss Charles has taken a liking to tenants Miss Lingus (Ed Jones) and her dear Carson. Lee (Kelly Anchors) serves Miss Charles as the estate’s very quirky handyman and loves nothing more than teasing young Carson, who attends The Josephine Baker Rainbow Academy for Gifted Students led by Miss Ficus (also played by Anchors). It’s when fellow student Summer Breeze (Tyler Anthony Smith) wins a competition over Carson and is found dead shortly thereafter that the intrigue begins.

Carson’s mother Miss Lingus (“just call me Connie”) is at first ignorant to the clues being laid out in front of her, but slowly pieces them together and becomes conflicted since she loves her son more than a "fuck ton of kisses". Carson’s as a matter of fact behavior surrounding every death is not just a big clue, it’s downright creepy.

Directed by Cheryl Snodgrass, The Drag Seed, is a hilarious ride that’ll keep audience members on the edge of their seats. Ed Jones is like fine wine and just keeps getting more delicious with each show. I’ve probably said that this the last time around, but it’s true once again - Jones’ performance as Miss Lingus may be one of his best yet. His knack for executing the perfect facial expression at just the right moment coupled with capturing just the right tone in his line delivery makes him a comedic force. Excellent performances flood the stage in this production with Kristopher Bottral’s all-out hilarious and highly energetic “Carson” while David Cerda is comedic perfection as Miss Charles. Kelly Anchors doubling up for the roles of Miss Ficus and Lee is yet another highlight in this show, particularly the brilliance she infuses in her role as Lee, creating yet another sidesplittingly funny character that we won’t forget anytime soon. Handbag fave Elizabeth Lesinski returns, this time as Wendy Breeze, Summer’s drunk and distraught mother, and makes the most of her role with a flawlessly camped performance of Eileen Heckhart’s character in the 1956 film version. I know – high praise all around. Yes, but well-deserved. Sydney Genco and Tyler Anthony Smith also rock their roles, making this a truly well-round effort.

Handbag stalwarts will undoubtedly be very pleased with Cerda’s newest production and newbies that attend will be sure to get hooked on Handbag’s camp theatre.

The Drag Seed is perfect mid-summer fun and is an easy show to recommend. If you get the chance be sure to check out the The Bad Seed prior to seeing this production, if for anything just to appreciate Cerda’s brilliance that much more and the character nuances that these talented actors have so brilliantly executed into their roles. If you’re unable to catch the film first, don’t worry, you’ll still have a blast.

The Drag Seed is being performed at Mary’s Attic in Andersonville through August 24th. For more show information visit www.handbagproductions.org

Everybody dies. In fact, Somebody will die very soon. That is not only reality, but also the premise of Everybody, a contemporary take on the Medieval morality play, Everyman. Each night, Somebody will be chosen randomly from the cast to go on the final journey. According to the press materials, this means there are 120 permutations of the cast list, chosen by lottery from a group of actors of different genders, ages and races. For this to happen, the actors playing Somebody have learned all of the lines. In Everyman, first published in 1508, a man is called to account for his life by Death, on orders from God, though he is allowed to bring a companion on the journey to his reckoning. Everyman asks a number of allegorical characters to accompany him, but they all balk, except Good Deeds, which is the only thing that goes with him to the grave. But this is not that play, as the extremely officious and informative Usher tells us. Brown Paper Box Co.’s regional premiere of Branden Jacobs-Jenkins’s Everybody is an engaging, often clever, reflection on what it means to live, and a reminder that Death will come for us all and now is a good time to think about how we are living our lives.

Despite the Usher’s assurance that we are not watching Everyman, Jacobs-Jenkin’s play adheres pretty closely to the source material in structure, except that Good Deeds are nowhere to be found (though Evil is there to the end), which makes the moral a bit less comforting. The reason may lie in the Buddhist origins of the source material, which this reviewer was unaware of until the Usher mentioned it. The play begins, as the original, with “God’s” frustration at the disintegration of humanity. The quotations are added by the actors every time God is mentioned. Death in turn is frustrated at having to figure out what exactly God wants, though he does figure it out, explaining to Somebody that God demands that they go with him, never to return, and prepare an accounting of their life’s work. Somebody is rightfully flustered by this assignment, as so much of their life has slipped from memory and God and Death have not prepared them for this moment. All of this happens before the plot actually gets set in motion with the selection of roles via lottery. The actor chosen to portray Everybody must take the ominous journey to the grave and God’s reckoning, and, as one would expect, it is a grueling and painful journey. But, for the evening, it is somebody else’s journey, so the audience can just sit back and enjoy.

Erin Shea Brady does not shirk from the meta-theatricality of the script. We are in a theater, as we are often reminded, and roles can be cast randomly. This conceit requires absolute commitment from the cast, and they throw themselves into their shifting parts wholeheartedly. The set by Evan Frank offers hardly any place to hide at the outset, and even less at the end. Samantha Corn’s costumes reinforce the allegorical nature of the characters and allow the actors to slip into their different parts. Intimacy Designer Charlie Baker deserves mention for easing the actors into an uncomfortably vulnerable encounter with Love. Sound designer Blake Cordell reinforces the otherworldly proceedings and choreographer Mollyanne Nunn contributes a real danse macabre. Ultimately, because the setting is minimal, it’s all on the performers.

Chelsea David, as guide, catalyst and comforter (Usher/God/Understanding) does a remarkable job ushering both audience and actors, delivering God’s insecure fury at the mess of humanity, and finally as a compassionate Understanding releasing Everybody to their death. David nearly conquers the streams of words she is tasked with through sheer force of will; this is to say that in lesser hands, there may have been a lot more looking at watches in the opening. She also makes it all look effortless. Kenny the Bearded is perfect as the sometimes petulant, always bombastic, and strangely sympathetic Death. Nora Fox plays Time with the certainty of youth, and just the right amount of youthful ‘tude. As neglected Love, Tyler Anthony Smith balances wounded ego, cruelty and ultimately touching loyalty as he demands abnegation from Everybody in return for his presence. The rest of the cast will presumably take turns at the other roles in the play. On the night being reported here, Alys Dickerson made the journey from terrified disbelief to calm resignation feel as wrenching as Everybody’s slow realization of the hopelessness of her situation would. Donovan Session was hilariously fickle as Friendship in this age can be, running through reasons why Everybody might feel depressed, commenting on their many passing connections (how many times they must have liked each other on Facebook), and swearing to stay with her to Hell and back, back being the operative word. Cousin (Hal Cosentino) and Kinship (Francesca Sobrer) offered enough comfort to make their rejections all the more painful. As Stuff, Alex Madda relished her role in ruining another human. The actors returned at the end to play Understanding’s team of Strength, the Five Senses, Beauty and Everybody’s Mind. No need to mention that these attributes fade as Everybody enters the grave.

There are a lot of pointed observations in Everybody about the way humans find to avoid real connections and dodge responsibility for others and the world, but despite all of the cleverness, Branden Jacobs-Jenkins does not seem to have a firm handle on the point of the journey. Unless that is the point. Despite the shortcomings of the destination, Everybody’s journey does remind us to perhaps be a bit more conscious of our lives and the people that pass through them. Director Erin Shea Brady and her game team of actors and designers, led by the indefatigable Chelsea David, have created an immersive and thought-provoking Everyman for the internet age. Though the play sometimes wanders into the philosophical weeds, the sincerity of the company in trying to untangle the mysteries and meanings of this existential journey, and Everybody’s dawning consciousness, is worth at least one visit.

Everybody, presented by Brown Paper Box Co., runs through August 12 at the Buena at Pride Arts Center, 4147 N. Broadway, Chicago. For tickets and information visit www.BrownPaperBox.org and https://dime.io/events/EVERYBODY.